Unsettling Histories: Part I

Unsettling Histories responds to the historicization of contemporary art in Canada, through the particular site of White Water Gallery (on the occasion of its 40th anniversary). This is the first part of a three-part creation residency series critically reflecting on histories of this place, focusing on the role of Indigenous art & artists at WWG.

Indigenous art & artists at WWG

White Water Gallery is one of the few artist-run centres where Indigenous artists and art have been part of our programming and organizing throughout the last 40 years; by contrast, many (if not most) other artist-run centres in Canada have jumped on the Indigenous art ‘bandwagon’ more recently. Or so the story goes.

This installation invites you – members of our community – to unsettle that history, by sharing stories and reactions relating to the role of Indigenous art and artists in our communities – in the gallery’s programming and activities, most immediately, but also here on Nipissing territory, and as part of broader movements to honour Indigenous peoples’ rights and relations to and of the land.

1977-1987

Detail: 1977-79

1987-2002

Detail: Temagami Wilderness Project

2003-2017

Detail: invitations for community reflections

The material from this community-engaged research project – undertaken with the research assistance of Nipissing University Fine Arts student, Sarah Watson – will inform a critical and creative conversation between artist Tanya Lukin-Linklater and curator Serena Kataoka, in the coming year. Please stay tuned so that you can join us for that as well!